Diamond Girl, Zola Jesus.

Functioning as both a surging, synth-styled thank ye to her traditionally avid obsessives, and a timely reminder of her artistic existence in its essence Nika Danilova to her mother, or Zola Jesus to mother Mary etc. reemerges with a rework of RiRi’s very own glistening return of a couple months back, Diamonds. An opaque and in many ways – yes, the inevitable keyword – ethereal redux of the scintillating widescreen R’n’Pop of its predecessor; its point of origin, it’s her most low fidelity effort for quite some time, though pertains to the usual mélange of Siouxsie bellow and wintry, exclusively synthetic backdrop. To hurl in a wholly inopportune footballing metaphor, as Niall Quinn may say, Danilova remains “bright as a button.”